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Physical media: between human nature and futurology

February 14th, 2011
CD and punched card - the speed with which one technology is supplanted by another is determined by many factors

CD and punched card - the speed with which one technology is supplanted by another is determined by many factors

It’s hard to answer prediction questions concerning physical media, letting alone assigning the exact date of their expiration. We might be laughed at by the future generations. Since the total disappearance of existing technologies is a sociological matter rather than technological, it’s always safer to predict the order of changes than to give exact rates.

It sounds trivial, but implementing a new technology into the market is always up to people. Those who live in big metropolies of the developed world may have an impression that certain technology (like Blue Ray) is so common that everyone and their dog is using it.Obviously, this is not the full picture.What about billions of people living in rural areas and in other places of the world?

Secondly, the speed with which the old technology can be supplanted by the newest one depends also on how well it fits the existing infrastructure. And the level of country’s existing infrastructure depends strongly on the level of its economic development, but also on the local business, politics, culture, even climat. Various technologies can be targeted at different groups of people and sectors of market, like cell versus land line phones. An intresting phenomena is observed in some developing countries of Africa with no previous landline infrastructure – they shifted directly to developing cell phone business.

And lastly, the human factor mentioned in the title. Basically, people vary as far as adopting new technologies is concerned. Not everyone is novelty-seeking, many wait to let the market verify the real value and suitability of the newest shiny gadget. Some simply attach sentimental value to items they possess and physical access is very important to them.There will always be traditionalists, sentimental collectors and fans of vintage. And this also stimulates the producers’ creativity. The more niches in the market, the better.

Piracy – Hydra – headed monster of entertainment industry

February 14th, 2011
Solutions developed to battle piracy become obsolete quickly

Solutions developed to battle piracy become obsolete quickly

Illegal downloading and counterfeit CDs and DVDs manufacturing, are threatening the entertainment industry which is extremely technology-oriented. On the other hand, piracy is also testing the industry’s creativity and ability to response rapidly.

It is estimated that one in three CDs sold worldwide is a counterfeit and 23.76% of worldwide internet traffic is generated by unauthorised content. In the USA, the commercial value of unlicensed software reached $51.4 billion, which was a 41% increase compared to previous years. But an exact loss figure is hard to calculate as there are many other factors, difficult to determine like whether someone would have purchased the content if it was impossible to obtain it illegally.

The UK, which is one of the leading digital music markets, with 67 legal services, also has to face the problem of illegal downloading. The first answer is education, which means making Internet users aware how physical and digital format piracy affects artists, songwriters and record producers.

But an informative and persuasive campaign is not enough to make users migrate to legal services. When there are no more carrots available, it’s high time to use the stick. Thus the UK, together with France, South Korea and Taiwan introduced legislation based on a gradual response. It was proved that 90% of P2P users would change their behaviour upon receipt of a second warning from their ISP, combined with a deterrent sanction if they continued their illegal activity.

Adopted in November 2009, the Anti Piracy Unit obliges the Internet service providers (ISP) to notify subscribers alleged to be infringing on copyright and produces a list of repeat infringers.

Piracy is like a multi-headed monster which continuosly transforms and forces people who deal with it to come up with one effective solution after another, as they become obsolete quickly. The next challenge is ‘cyberlocker’ sites with fast spreading illegal links, and no users to identify.

An interesting innovation was developed by Fortium. It’s a File Based Pin Play solution that secures the content at the moment of receipt. A special wrapper is attached to the file and the receiver has to enter a separately provided pin in order to open the content. It is aimed at protecting DVD’s from unauthorized duplication.

It seems that battling piracy can be effective if the efforts of all the parties involved: industry suppliers, assosiations and goverments, work together. But as always, there is also another side of the coin: what threatens the economic stability of a developed industry, boosts the rapidly growing markets like Brazil, India and China.

From 2D to 3D – a short course on brain deceiving

January 6th, 2011

The best is either to deliver high quality 3D or not to deliver it at all

The arrival of 3D has definitely thrilled the market and lifted consumers’ expectations. 3D broadcast channels, TVs with built in ‘on the fly’ conversion ability and 3D cinemas pop up like mushrooms. Not a long time ago just four 3D movies generated 33% of  total revenue of the box office.

At first glance, it may seem that auto conversion can save a lot of money and manual work, but it has to be remembered that the quality of auto-conversion is strongly linked with the source material. It is far easier to convert a movie that was made with 3D in mind than some old movies which used to be fully devoted to 2D. Auto – convertors do not like abrupt cuts and  vertical motion since the convertors’ depth detectors prefer horizontal plane. However the idea of turning old movies into 3D reminds many of the colorisation era in the 80’s and leaves them similarly disappointed. And as the latest damaging reviews for The Clash of the Titans showed, the idea of turning into 3D the movie with no previous intention for extra dimension brings literally nothing to the watching experience. We may also wonder if it will ever be possible to create a computer algorythm that can achieve the 3D perception equal to that of human brain, but so far the real quality conversion can only be done by skilled engineers.

The basic way to convert 2D to 3D is by ‘vertical location’. The image is cut into horizontal zones and the zones at the bottom of the screen seem to be closer than the others. Yet, many aren’t satisfied with the results. The more advanced method is  to simply clone the movie. By doing so, you get two identical picture sequences. One – for the left eye – remain untouched and the other is transformed in the search for a deeper dimension. Individual objects are isolated with a use of two techniques: rotoscoping and matting. The former traces the contour of an object in every single frame of the movie and the latter constructs a mask (using color, motion or brightness) that follows it around. Finally, the relative depths are measured using parallax.

There is also a physical phenomenon called the Pulfrich effect, where a visual lag between the left and right eye creates depth from 2D. A variation on this theme, combined with objects moving at different speeds in successive fields can bring interesting results as well.

Anyway, only the luckiest half of humanity will be able to fully appreciate the result of quality conversion. Let’s hope you are among them!

The 3 threads to 3D

December 2nd, 2010

Adding realism to the viewing experience is good. Football is the best example.

Adding realism to the viewing experience is good. Football is the best example.

3D, a new feature of Blu Ray format will certainly be a revolution in home entertainment. It has already revolutionised the movie industry. Avatar proved it is no longer a gadget, but an integral part of story–telling and the movie texture. It gave a real boost to 3D. It is estimated that by 2015 almost 40% of TV sets will be 3D. 70% of Europeans are interested in having 3D at home. Similarly, as it was the case with the movie industry, the  3D impact will be holistic and will transform all forms and channels of content delivery – 3D cinema, home 3D, PC-based 3D gaming and 3D mobile phones. More exciting opportunities to exercise your right to entertainment!

However, there are some threads which may limit the scope of 3D and keep it still as something designed ‘for an occasion’. The first is that there might not be expected content to draw people’s attention. Consumers most frequently view wildlife footage and sport events in 3D, but are strongly attached to 2D when it comes to their favorite TV shows. So will it be mainly for hardcore game enthusiasts?

With growing consumer awareness, more information and education provided by retailers is needed. Especially concerning the necessary equipment and background in 3D experience, its impact on the keen young gamers’ eyesight etc. The 3D format is safe for children over 4 years of age, according to doctors, and it’s definitely better for human eye accommodation than traditional 2D.

Last but not least, there is the question of time-consuming conversion from 2D to 3D done by skilled engineers.  This issue needs to be balanced as now many new TVs and BD players have built in circuitry that permits an auto- conversion by simply one press of a button.  It’s also estimated that 55% of the population is unable to see 3D properly, so is there a point in dedicating time and effort for raising already sophisticated standards of good conversion if more than a half of all viewers are not able to spot the difference?

BD –Live: a bridge to Digital

December 2nd, 2010

BD - Live's ability to connect with social networks is essential to its success

Blu Ray disc format is opening doors for a wide range of advanced applications and can be a powerful marketing tool. Whilst the BD player was designed for watching movies, BD – Live can enhance this experience and at the same time integrate its fans communities online.

It’s also a perfect tool for collecting marketing data and who could want more? In order to make an optical disc BD – Live enabled you have to put some software on it. This process is called boot – strapping and later allows you to connect with the server, searching for any software updates.

With this, the path to promote market relevant content becomes widely open. Extra information about cast, crews, various aspects of the movie production and film trailers can be brought to the screen. If you want to extend, if not exceed the experience, you can immerse into an online communication with other viewers. The access to extra movie content can be via electronic sell – though ( EST ) or by video – on – demand ( VOD ) transactions. Attractive, frequently updated and well managed content is the key to keep the fans interested as well as bring in new ones and to integrate them around films or brands through social networks.

From the mass merchandisers perspective, BD – Live looks like a fulfilled dream. It makes the consumers’ response fully measurable and accessible, so it can be aimed at a precisely selected group of clients, providing a cost effective campaign with a high response rate. Every prefernce can be tracked: what is being watched / purchased, for how long and at what frequency. This makes the e – commerce opportunites indefinately rich, especially in branches like entertainment, automotive, software, travel and leisure.

Why do consumers, especially gamers, love physical media?

November 8th, 2010

Will physical media be soon supplanted by digital?

Although digital delivery has been gaining more and more recognition and is estimated to generate nearly £6.5  billion  of new revenue by 2013, it is still complementing, not displacing, physical media. And at least for the nearest decade media companies are to expect a period of synergy between physical and digital rather than ‘cannibalisation’. Why? Because basically people like to have what they own and be independent from the way publishers are ruling a game.

According to survey conducted by NPD, 75 % of game buyers prefer to have a boxed, retail copy of their game. Is it for collector’s sake? Out of nostalgia? Well, not only. 65% declare they would download the game if the title was 10% cheaper to download than buy at retail. There is also a ‘novelty factor’ which digital media seem to be taking for granted. While the price of a physical copy is more likely to drop down, the drive disc version may stay at the same price indefinitely, especially when there is no storage problem.

Another explanation for a preference to physical media is its independence from the publisher and licensing restrictions. Digital games do not belong fully to the user, they  are only under license to use, so the publisher has complete control.  There is also a trivial aspect, basically physical media are less harder to lose. There are no concerns about the servers going down or possible free or reduced price re-download. Many have pointed out that the  trade off digital media should be of much lower  price than the price of physical media, until that happens streaming and such is not all that viable.

Not only consumers share this view. Many retailers also perceive digital media as ‘ high investment low return business model’, as there are many problems in stock:  mobile internet access and reliance on the speed of downloading, supply chain customization, lack of standards in the whole sector. Searching for  effective content protection policies is one of the biggest challenge as pirated websites are more and more sophisticated. Ironically, in many regions of Europe and Asia it is still easier to find pirated movies than the legal DVDs.

In the era of cloud computing digital distribution is a natural part of the process and cannot be avoided. It is only the question of adopting infrastructure in order to provide a simplified and coherent method of data distribution.

What is the future of green packaging?

November 4th, 2010

There is more interest in recyclability than in developing alternative materials

No packaging company can afford to be labelled as ‘environmentally unfriendly’. Consequentially, green awareness is seen as a powerful asset to boost sales. Unfortunately – as there still are no clear rules for naming a particular product ‘green’ – this often leads to overstated claims and the overall devaluation of the term.
One such example would be claiming that discs with only slightly reduced emission of CO2 are ‘green’; whereas this obviously is not a straight forward case.
Clearly there is a need for special regulation on this issue so that the consumers are fully informed about what they buy. Similar regulation is already to be put in place by the EU with regard to orange juice.

On the other hand, event the noblest of concerns – such as the environmental ones – have to be reconciled with customers’ needs. These however often tend to contradict each other; like the demand for reduced costs and increased sustainability. It seems that many will applaud minimizing environmental impact, but only few are willing to carry the weight of the costs involved. Especially that – since the packaging is a part of the product rather than an instant throwaway – there is more interest in recyclability than in developing alternative materials; no matter how sophisticated.

Again, it is necessary to carefully estimate the costs: is putting extra financial effort in producing yet thinner discs – which are recyclable to the same extent as the currently produced thin discs – economically viable?
The current data seems to suggest that the customers are more concerned about sustainability and less willing to experiment with new technologies.

The History of the War Between Blu-ray and HD DVD

October 6th, 2010

The battle between the HD DVD and Blu-ray discs was hard-fought

As new technology is constantly brought onto the market, it stands to reason that sometimes you will get products which clash.  Sometimes, these two variants on the same product can co-exist quite happily, but other times a vicious battle of merchandise ensues and one product will knock the other off the market!

This was the case with the fight between Blu-Ray and HD DVD, and the war goes back further than you’d think:  All the way back to the year 2000!  During this time, new blue lasers were being experimented with in optical disc systems.  Companies found that by using these blue lasers, rather than the previous red ones, more information could be stored on a disc in less space.  This is because the wavelength of a blue laser is smaller than a red one, therefore less space is needed to store the same piece of information.

But why were they experimenting with this new technology?  What was wrong with the good old DVD?  Well, as is often the case, advances in other areas were forcing disc technology forwards:  High definition televisions and television services had come onto the market and the disc industry did not want to be left behind.  They, too, wanted to provide high-definition products but found that there was simply not enough room on an ordinary DVD.  Thus, new technology had to be found to cater for the changes in the market.

But here’s the catch:  More than one company was making the same discoveries at the same time!  The result:  Two competing products were brought onto the market and began a battle that would last for almost a decade.

Sony and Pioneer seem to have been the main instigators of research, unveiling the DVR Blue at Japan’s Ceatec show on October 5th 2000.  It was this disc which would form the basis for Blu-ray, which was proposed some two years later, on February 19th 2002.  The plans for the disc were put forward by nine very successful electronics companies, headed by Sony.  However, only a few months later, NEC and Toshiba put forward plans for a competing product, the high-definition disc which was to become HD DVD.

That year, at the 2002 Ceatec show in Japan, both discs were unveiled.  The Blu-ray was shown by Sony, Sharp, Panasonic, JVC and Pioneer whilst the HD DVD, at this time called the Advanced Optical Disc (AOD), was shown by Toshiba.  I can almost imagines the competitors scowling at each other across the room:  This meant merchandise war!

At first, things were slow.  New technology is very expensive and the licensing for Blu-ray was extortionate (and necessarily so considering all the money that had been sunk into the disc’s invention!)  Perhaps due to this, or perhaps simply in a clever marketing move, Sony created a disc which would allow data storage, not only in terms of film, but in terms of business: Companies could now store documents, presentations – whatever they wanted – on these discs, like memory-massive versions of the CD.

The technology to be able to write information on discs at home and in the workplace was then used to create the first home BD recorder.  It was based upon the BD-RE disc and cost almost $4000!  It was a mistake, however, as the machine did not support pre-recorded films and simply served as an extra expense for the companies involved.  Despite this mistake, the BD was obviously making headway, however, as Mitsubishi joined the group in May of that year.

But what of the HD DVD during this time?  Well, truth be told very little happened with the HD DVD of note until early 2004, when Toshiba unveiled the first prototype HD DVD player.  The player was well though out as it was backwards compatible with DVD, a customer pleasing feature which brought it attention.  However the success was not to last, as only five days later, on january 12th, Dell and Hewlett-Packard, major electronics companies, made public their decision to back the Blu-ray disc.

Then, on September 21st, Sony announced that their PlayStation 3 would support Blu-ray discs.  This was a canny business move on Sony’s part, as they knew that many of the people who play PlayStation games are also a major section of the film-buying market.  Therefore, by cornering the gamers into watching Blu-rays simply because they already had the player, they sectured an enormous amount of business in one fell swoop.

But in late November, several world-famous film studios came together to give their support for the HD DVD.  This was a massive boon for the HD DVD; getting the backing of Warner Bros. Pictures, New Line Cinema, HBO, Universal Pictures AND Paramount Pictures secured for them a massive portion of the film-making industry.  However, they had missed off one of the most influential giants of movie-making:  Disney.  And ten days later, this titan of business gave its support, not to the HD DVD, but to Blu-ray.

In mid-2005, Sony’s president made a show of wishing to compromise or integrate with HD DVD, knowing as he did that consumers were becoming tired of having choose between the two rival formats.  But still the war dragged on, though talks were indulged in for several months between Toshiba and Sony.  Companies kept siding with one of the other format until, late in 2005, Paramount Home Entertainment decided to offer their films on both HD DVD and Blu-ray.  Some other companies followed suit but there was still an air of stagnation and irritation on the market.

So we come to March 2006, when Toshiba put their new HD DVD player on the market.  It had been in development for some moths by LG Electronics, no doubt also backed in part by Microsoft, who had decided to rival the PLayStation 3 and provide an HD DVD drive add-on for their Xbox 360.  The disc player was much more of a success than the initial Blu-ray model, as it was cheaper (by about $2000!) and also played all pre-recorded data.

2007 saw the HD DVD take over the market, stealing support from companies who had previously backed Blu-ray as their HD DVD-player sales rocketed to 100,000 in north America alone.  This was despite the fact that LG had put together a dual-format player and Warner Bros. had developed a disc which had two layers:  One HD DVD and the other Blu-ray, so that it was compatible with all players.  HD DVD player prices dropped dramatically and Sony were forced to follow suit, reducing the price of the PlayStation 3 in early November – just in time for Christmas!

So, things were looking up for HD DVD, but Warner Bros. had a bombshell to drop in the new year.  On January 4th 2008, the dropped their support of HD DVD and went over to Blu-ray.  “All of us at Sony are feeling Blu today!”  Said Sony CEO Howard Stringer later that week, smiling broadly.  It was a major blow to HD DVD’s confidence and success.  Though they cut the prices of HD DVD players, the market was simply not interested anymore and consumers began to side more and more with Blu-ray.

Companies NetFlix and BestBuy had said they would phase out HD DVD by June only a month after Warner Bros. announcement and five days later, Toshiba halted the production of their HD DVD players.  Blu-ray had won the war, and just when it looked as if they were about to lose!

Is a book the secret to a best-selling DVD?

September 16th, 2010

Could a book really make a CD sell better?

It may seem like a contradicting thing to say that books and DVDs go well together considering that each seems to encourage separate aspects of the human.  While DVD are visually and aurally stimulating, packing with quick information that takes no effort to take in but which can quickly hook you in emotionally and psychologically, a book is a slow-burning, highly informative volume which focusses a little less on the powers of empathy and far more in employing the resources of the imagination.

However, recent studies have shown that these two such contrasting products are mutually beneficial when placed upon the market in a package.  In fact, these packages have even developed their own niche – the ‘kit’ market’.  Often, these ‘kits’ are one off and best-sellers, for instance the book/DVD combination on Barak Obama, Barak Obama – Words That Inspired A Nation:  Essential Speeches 2002 to the Inauguration.  But recently there has also been a whole host of kits brought out annually, often related to bands or magazines.

The book on Barak Obama was in danger of falling into the highly intellectualised, dry realm of academia but the accompanying DVD brought it to life and expanded the consumer market considerably.  As Brian Brodeur, one of the key figures in the book’s video-editing process, says, “The DVD and package made all the difference…  I don’t think a book of speeches is going to do those kinds of numbers.  The value-add of the DVD is what put it over the top.”  And it’s true; rather then selling a few copies to a small market of consumers with very scholarly attitudes, the DVD allowed the book to appeal to the average Joe.  The kit sold 7,500 copies in its first two months of sale alone!

So, a DVD can obviously help a book to sell, but is the reverse true:  When approaching DVD duplication services, should we also approach a publishing company alongside to create a book for our DVD?

The evidence suggests that the market is open and eager for more such kits, the multimedia content appealing to a greater audience and adding value above the value of the product alone.  This has been seen with several more DVD-based kits.  For a start, the back-copy DVDs of Rolling Stone and Playboy magazine.  Each company approached Bondi Digital Publishing in New York, hoping to create a DVD of all the issues of their magazines since beginning of print.  For Playboy, this went all the way back to 1953, while for Rolling Stone a more modest 1967.  Still, both jobs were massive undertakings, with each page of each edition of the magazine needing to be scanned and digitalised.

It was posited that a book of the company’s respective histories should be published in conjunction with these DVDs, forming a kit, and there is no doubt that this decision on the DVD duplication services part added to the overall value of the product, combining two new and interesting collector’s items in one kit.  As David Anthony, Bondai Digital’s president, recalls, “It began as a DVD-ROm only software product, but then we realised that adding a book would give us more retail reach.”  The Playboy DVD kit also came with a re-print of the first edition of the magazine ever sold.  These kits have, according to David Anthony, ‘met sales expectations’, which were high in the first place!

More unusual formats, for instance Esteban’s famous guitar lesson DVD/ book kits, are becoming available as well.  Esteban’s kits are rumoured to sell more copies per year then the guitars the two giants of the instrument world, Fender and Gibson, sell per annum – combined!  He must be a very happy man, as must his DVD duplication services be!

So, what are the issues with these top-selling kits?  Well, to start the packaging can be a nightmare to conceptualise.  What do you do with a DVD that needs to look like a book in a bookstore and a book that needs to look like a DVD on the shelves of HMV?  But, as more and more kits come onto the market, more ideas are coming through and it is becoming ever-easier to piece together a product which looks classy and original.

The other problem many DVD duplication services encounter in the process of creating these products, is that the publishing and DVD duplicating worlds know very little about one another.  This makes collaborating tricky, but can be incredibly successful, each business learning a bit about the other, and each one complimenting the other with the services they provide.  The difficulties come when sourcing data for the product:  During the Obama kit’s production, Barnes and Noble are said to have sourced some very poor quality film of the president’s speeches, which had to be re-sourced and acquired all over again!
However, this problem too has been fading with time, as each industry learns more about the other they are better able to collaborate and come out with some very stylish kits.  As Brodeur says, “I think one of the reasons we’ve been putting together some great kits is because we now know more about what the other [industry] does.”

So, with issues in the production process which are constantly becoming less of a problem and a wide market eager to consume your product, why not consider making a kit next time you approach DVD duplication services?  The profits are higher than the input by far and you would be helping a new and exciting variation on products get up and running!

How are BD-ROMs manufactured?

September 3rd, 2010

Brand new BD technology means a brand new disc manufacturing techniques

From a consumer’s point of view, it can often appear that products simply appear on the shelves in our shops.  But the reality is that everything that we buy is made somewhere in a more or less complicated process.  For Blu-ray disc manufacturing, this process is long and tricky and must be done by state of the art machines.  On the surface the BD factory is mystery – so let’s satisfy our curiosity and take an in depth look at how these discs are made.

All BDs start life as a collection of tiny, clear granules of the plastic polycarbonate.  These granules arrive at the factory in trucks and are stored in silos, waiting for the process of Blu-ray disc manufacturing to begin.  They are then siphoned into pipes, which take them through the factory to ‘hopper’s which measure out a certain number of granules and melt them down, sending them to the moulding machine.

The moulding machine then compresses the liquified polycarbonate into a disc.  The mould for the machine is created from a glass master copy of the first layer of data data to be stored on the BD so not only does this machine create the basic shape of the disc, but it also punches the first layer of data into it.  The data takes the form of ‘bumps’ or positive and negative indentations on the surface of the disc, which will later be covered for protection, and then read by the ‘blue’ BD laser.

Moved by a robotic arm, the disc is now ready for the next stage in Blu-ray manufacturing.  The disc is then coated in a layer of silver.  This layer is miniscule – only 90 angstroms thick (and an angstrom is only 100 millionths of a centimetre!)  The layer is created by a process called sputtering.  In this case, ‘sputtering’ involves hundreds of thousands of atoms of silver being bombarded.  The particles of metal are ‘energised’ or made magnetic so that they will stick to the surface they are applied to.  In Sony Blue-ray disc manufacturing plant, their sputtering machine has a magnetic field so strong that it affects pacemakers that are brought nearby!

The disc is then coated in a layer of special UV resin, which is hardened by being exposed to a special kind of light.  Then, a second layer of data is added if needed and the disc is given another UV resin coating and a final protective layer.

But this is not then end of the Blu-ray disc manufacturing process:  Half the energy goes into making sure the product is reliable.  The discs are machine-checked for any sign of scratching or bubbling between the layers before being scanned and checked for playback integrity.
And what would a disc be without its artwork?  The discs then have to be loaded onto spools to go to the printing machines, which vary in technique according to the factory.  Finally, the BDs find their way to the assembly line where they are clothed in their cases, with any inserts and covers the designer has chosen.

So that is how Blu-ray discs are manufactured!  They don’t just magically appear, but are sent through a complex and highly scientific process before arriving on the shelves or our stores!

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